Exoticalot People are voting emotionally.

Helloturia I have absolutely never seen anything like this movie before. You have to see this movie.

PiraBit if their story seems completely bonkers, almost like a feverish work of fiction, you ain't heard nothing yet.

Billie Morin This movie feels like it was made purely to piss off people who want good shows

MartinHafer Brigitte Bardot plays a very competent and rich woman in this film. Yet, despite this, she manages to become putty in the hands of a rather self-absorbed and annoying man. While this seemed really unlikely, so is real life and there no doubt many people who fall for the absolute worst partner. It's annoying...but can happen. And, while the actors play annoying people, they do a good job with what they were given. The only problem is, does the average viewer want to see this sort of film?The film begins with Bardot having a very, very controlled and predictable life. She has a fiancé but there isn't a lot of passion between them. She is content with her lot...but not all that happy.When she travels to meet with lawyers concerning an inheritance that will make her quite rich, she stumbles accidentally into the life of a man who tried to kill himself with sleeping pills. How they met and how the hospital just gave him to her is all very, very difficult to believe--so you'd best suspend belief if you are to continue watching.Once the man is released from the hospital, he follows Bardot--almost like a stalker. But, oddly, instead of running away or telling him to get lost, she falls for this odd and completely amoral and self-absorbed man. Other than the attraction of having some unpredictability and passion in her hum-drum life, it's very, very hard to see why she becomes infatuated with her--especially when he runs hot and cold with her. Many times he does horrible things to try to drive her away...and yet, by the end of the film, you are expected to believe they'll somehow live happily ever after....which is about as likely as politicians balancing a budget!The plot has a lot of problems as you can see above, yet the film still manages to be interesting and quite sexy (despite not really showing anything). As usual, Bardot's character finds 1001 situations where she gets naked (but you see nothing, really) and the acting is good. It's just that the whole thing seems contrived and it's hard to actually like either character. An odd little time-passer.By the way, although Ms. Bardot has a famous reputation as an animal rights advocate, I did enjoy seeing her eating a big hunk of meat (this is not a reference to her male co-star but a real piece of cooked flesh) meat and being rather nasty to her pet goldfish.

christopher-underwood This is not a great film and not even as good as Vadim clearly thought it would be but it is still likable. Indeed there is much to like, even if Bardot is already past her absolute best look she carries herself well enough and there are glimpses of her beauty. Unfortunately she does not play little miss suburban boring, convincingly and her co-star, Robert Hossein doesn't really begin to cut it as the anarchist/existentialist, and yet… There are very good moments and when Hossein insists on leaving and she chase him to argue her 'love' there is real frisson. Similarly in the terrible moment when he insists on walking from her to take a prostitute, we are drawn immediately into their mutual dilemma. Unfortunately the film does not have the courage of it's convictions or possibly Vadim did not even have enough awareness of his subject, either way this is a great idea for a film yet to be made.

Dennis Littrell A young woman named Genevieve Le Theil (Brigitte Bardot) while on a trip to Dijon to claim an inheritance accidentally opens the wrong hotel door and finds a man named Renaud Sarti (Robert Hossein) lying unconscious on a bed. He has attempted suicide by taking an overdose of sleeping pills. Her intervention saves his life.One would think he would be grateful and perhaps fall in love with his beautiful benefactress. What happens is just the opposite. She falls into a kind of obsessive, almost masochistic, love with him, but all he feels for her is indifference. He spends her money, drinks to excess, abuses her verbally and emotionally. But she can't let him go regardless of what he does. Yes, this is a familiar premise, and frankly I would not have stuck around long enough to see how it plays out except for Brigitte Bardot.If you haven't seen her, you might want to watch this just to take a look at her. She is strikingly beautiful and amazingly sexy. She has pretty, almost perfect features and a soft and sweet way about her; but perhaps the most arresting thing about her is her figure. It is absolutely exquisite. She was a sensation in the fifties not only in France but in the US as the quintessence of the "sex kitten," in some ways even more so than, say, Marilyn Monroe or Tuesday Weld.Roger Vadim, who would later direct Jane Fonda in Barbarella (1968) was married to Bardot at the time this movie was made. (He would later marry Jane Fonda.) Like some other French directors, Vadim liked to make movies which amounted to adorations of the beautiful young star. See Roman Polanski with, e.g., Nastassja Kinski in Tess (1979); Krzysztof Kieslowski with Irene Jacob in La Double vie de Véronique (1991) and Trois couleurs: Rouge (1994); and Andre Techine, with Juliette Binoche in Rendez-vous (1985) for some comparisons. Naturally if you make movies in which the camera adores the young actress and shows her in her best light, you are going to attract young actresses! Here Vadim directs in a studied manner designed to not only show off Bardot's exquisite beauty but to highlight her ability as an actress. Although not among the first rank as actresses go, Bardot performs well here. Perhaps this is her best film. She is elegantly dressed and coiffured, and Vadim treats us to many close ups of her lovely face. (If there is a more beautiful woman in filmdom, I haven't seen her.) But don't expect to see much of her equally lovely body or any kinky sex. This film could easily pass for PG-13. Vadim creates an early sixties French atmosphere as he recalls the jazz/beat scene from that era, but he does so in a superficial, almost euphemistic way. In the elaborate scenes at Katov's apartment and then at his estate, we are given a hint of the decadent indulgence of a certain class of French society in which privilege, jazz, heroin, pot and easy sex are the rule, but Vadim keeps it all off camera except for one scene in which a joint is passed around.Vadim's most famous film starring Brigitte Bardot is Et Dieu... créa la femme (And God Created Woman) (1956). This is not to be confused with Vadim's American version of the film from 1988 starring Rebecca De Mornay, which was not very good.Bardot retired fairly young and devoted her life to helping animals.(Note: Over 500 of my movie reviews are now available in my book "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!" Get it at Amazon!)

bonfirexx This film seems like more than just a film, it looks and feels like what it would have really have been like to have Brigitte Bardot as your companion in life, for better and for a lot worse, as relationships go. Qualities such as loyalty, caring, warmth, tenderness, understanding, devotion, etc. endlessly flow from her to her suicidal, live-in lover, as time and again she brings him back from the depths of despair and self-destruction, to temporary recovery in her arms. All this, however, serves to make him even more miserable, in the best masochistic tradition, as he falls even more deeply into his alcoholic albatross, rather than face real life responsibility as a sober, productive man with a good woman by his side.Bardot exudes the utmost maturity and restraint in taking the best cheap shots this ungrateful con-artist, female user, and abusive man (Robert Hossein, in an outstanding interpretation of a difficult role) can dump on her. The problem here is universal in scope in that it portrays two people who are physically attracted to each other, to the point of addiction, while at the same time a classic mis-match from a values and a psychological perspective. "You always hurt the one you love," was never more in evidence than for the 102 emotion-draining minutes of this film. Clearly a Vadim masterpiece, and a triumphant collaboration with Bardot, long after their real-life divorce and her remarriage. This represents "professionalism" to the highest degree.